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Meta has launched an experimental feature, Movie Mate. It allows theatregoers to engage in real-time conversation with the AI character M3GAN during screenings. M3GAN, a horror sci-fi blend, already blurs the line between technology and terror. Now, the viewing experience itself takes a bold new turn. Let’s explore whether this move signals a thrilling innovation or an unwelcome audience distraction. Introducing Movie Mate Blumhouse, the production house of ‘M3GAN,’ partnered with Meta to pilot a new kind of theatrical tech experiment: Movie Mate. This interactive chatbot was designed not to scare but to interact with, prompting viewers to tap away on their handheld screens. As the movie progressed, users received timed trivia drops and AI-generated quips, all in sync with the onscreen chaos. Meta, the parent company of Facebook and Instagram, pitched this as a bold strategy to pull distracted audiences back into theatre seats. The rollout, however, wasn’t grand or heavily publicised. On April 30, 2025, Blumhouse and Universal quietly reintroduced ‘M3GAN,’ the horror-sci-fi tale of AI gone rogue. The horror movie marks the first title to feature Movie Mate integration. The occasion was Blumhouse’s “Halfway to Halloween” event, a nod to fans of the spooky season. Read more: Karate Kid Legends Unites Two Miyagi-verse Icons- Jackie Chan and Ralph Macchio Roughly 70 attendees gathered at AMC Universal CityWalk in Los Angeles. As the lights dimmed, a soft glow lit up the auditorium, dozens of phones ready for digital dialogue. During the opening scenes, the app delivered around ten messages. One, cheeky and in-character, asked, “Do you think they’re inventing other dolls like me?” A simple yes was met with the wry retort, “Don’t be delulu.” People’s Response At first glance, the novelty of Movie Mate sparked genuine curiosity among some theatregoers. As the AI chatbot introduced itself in the voice of M3GAN, the initial reactions were light-hearted and intrigued. The tech felt fresh, almost playful, in its attempt to personalise the cinematic experience. Read more: Sinners Makes Horror History: Blockbuster, Top Ratings, and Oscar Buzz But that early excitement didn’t hold for long. Many audience members found themselves second-guessing the very act of looking at their phones. The fear of seeming rude or disruptive in a darkened theatre overshadowed the fun. Several admitted to ignoring most of the chatbot’s messages until the film had ended. It was unable to fully balance the screen in their hands with the one in front of them. Industry observers echoed this ambivalence. Trade publications quietly questioned its staying power, suggesting that it leaned more toward a marketing stunt than meaningful innovation. Mashable noted that the real intent may be to hype ‘M3GAN 2.0,’ set for June 27, 2025, and boost Meta’s push for second-screen engagement. M3GAN Makers’ Take Blumhouse isn’t blind to shifting audience behaviour. Data from the National Research Group shows nearly 20% of moviegoers aged 6–17 text during films, despite theatre rules. Rather than resist the habit, the studio sees it as a chance to redirect it in support of the film experience. Read more: Best 10 Korean Dramas Releasing in May 2025 The M3GAN maker believed the experiment was worthwhile, particularly because younger audiences seemed to embrace it. From their perspective, this indicated a growing appetite for interactive elements that enhance, rather than replace, traditional moviegoing. The criticism hasn’t gone unnoticed, but the studio seems unbothered. They acknowledge that this approach won’t appeal to everyone and that not all innovations are meant for universal acceptance. There also seems to be a strategic vision behind the app. Blumhouse executives view it as a way to turn movie releases into events. It would be experiences that generate buzz and compel younger viewers to participate. They see younger audiences as eager to interact with the media they consume. Read more: Thunderbolts*: The First Non-Sequel Movie Breaking the 13-year Marvel Trend Even so, there’s recognition of its limitations. For now, Blumhouse and Universal have no plans to extend Movie Mate to upcoming titles, including ‘M3GAN 2.0’. Where Movie Theaters Stand Movie Mate fits into a broader vision from Meta’s CEO, Mark Zuckerberg, who aims to integrate AI chatbots across his platforms and beyond. In Zuckerberg’s futuristic world, these chatbots are designed for personalised, fun interactions at any moment. This includes, it seems, even during movie screenings. The timing for such a move comes amid significant challenges for the movie industry. Comscore reports a 33% drop in the North American box office since 2019, despite hits like ‘A Minecraft Movie’ and ‘Sinners,’ as the pandemic accelerated the shift to streaming. Given this, Hollywood is looking for innovative ways to lure audiences back into theatres. Read more: South Indian Films Releasing in May 2025: Must-watch Lineup However, not all movie theatres are eager to embrace this new technology. Alamo Drafthouse Cinema, known for catering to passionate film lovers, opted out of the AI chatbot experiment. Even several smaller theatres across the country followed in their footsteps. Yet, the major chains, Regal Cineworld and AMC Entertainment, decided to test the waters. Their only condition: ticket buyers would be fully informed about what they were signing up for before entering the theatre. Influential Backdrop In many ways, it’s the younger audience that’s reshaping the theatre experience—often on their own terms. Take A Minecraft Movie from Warner Bros., for instance. It turned into a surprise hit last month, not just for the story on screen but for the chaos unfolding in the aisles. Teen viewers ignored theatre etiquette. They shouted lines like ‘chicken jockey,’ climbed on each other’s shoulders, tossed popcorn in the air, and filmed it all for TikTok. Read more: China's Ne Zha 2 Stays Atop Hollywood's ‘A Minecraft Movie’ at the Worldwide Box Office The trend isn’t isolated. Universal’s Wicked soared to USD 754 million last year, helped by fans who turned screenings into sing-alongs and social media events. Similarly, Sony’s ‘Anyone but You’ (2023) pulled in a surprising USD 220 million after viewers began recording their reactions to the finale. The creators behind ‘M3GAN’ paid close attention to all of this. Takeaways Meta's Movie Mate app brought real-time chatbot interaction into theatres, aiming to engage audiences during ‘M3GAN’ screenings. Reactions were mixed—some curious, others hesitant or distracted. Blumhouse viewed it as a chance to enrich the experience for younger fans. Meanwhile, theatres remained divided, with major chains on board and boutique cinemas opting out. In this early phase of AI-led second-screening, whether it’s an interactive experience or a distraction remains unsettled. Read more: Tom Cruise’s Mission: Impossible 8 - The Final Reckoning Marks the Longest Film of the Franchise

New movies like “Plane” and “House Party” were no match for “Avatar: The Way of Water” and the killer doll horror “M3GAN” at the box office this weekend. The two holdovers topped the charts again according to studio estimates Sunday. In first place for the fifth weekend in a row was James Cameron’s “Avatar” sequel, which added an estimated $31.1 million through Sunday. That total will likely balloon to $38.5 million by the end of Monday’s Martin Luther King holiday. As of Sunday, the film's domestic total now rests at $562.9 million (the 13th biggest of all time) and its global total is $1.89 billion. “Avatar 2” needs to pass $1.92 billion to trump “Spider-Man: No Way Home,” which is currently the sixth highest grossing film of all time globally. “There were such huge expectations and a lot of naysayers that opening weekend,” said Paul Dergarabedian, the senior media analyst for Comscore. “But ‘Avatar,’ for a James Cameron movie, is moving at lightning speed up the domestic and global box office chart. I think he always knew this would be a $2 billion movie." Second place went to Universal and Blumhouse’s “M3GAN” which in its second weekend in theaters added $17.9 million through Sunday and an estimated $21.2 million including Monday. The modestly budgeted thriller that cost a reported $12 million to produce has made $59.8 million in North America. Read more: 10 Most Anticipated Movies of 2023: Unleash the Craze of Movie Mania Horror movies typically have very steep second weekend drop offs in ticket sales, but “M3GAN” only fell 41%. Dergarabedian said that’s almost unheard of for a horror picture and shows “world class staying power.” Universal also claimed the third place spot, with “Puss in Boots: The Last Wish,” which audiences continued to seek out in theaters even though it’s currently available to rent at home. The family-friendly animated film added $13.4 million in its fourth weekend, bringing its domestic total to $110.3 million. “A Man Called Otto,” from Columbia Pictures, expanded to 3,802 theaters this weekend, adding $12.7 million through Sunday, and $15 million including Monday, to take fourth place. Directed by Marc Forster, the adaptation of “A Man Called Ove” starring Tom Hanks is proving to be something of a rarity in the theatrical marketplace as an adult-targeted drama that is doing well. The Gerard Butler action pic “Plane,” a Lionsgate acquisition for release in North America, rounded out the top five with a better-than-expected $10 million in its first three days. In the film, Butler plays a pilot whose crash landing on an island is only the first of his troubles. On the island, most of the passengers are taken hostage. “Plane” got better-than-average reviews with 75% positive from critics on Rotten Tomatoes. Sixth place went to the second major new offering this weekend, “House Party,” a reboot of Reginald Hudlin’s 1990 hit that spawned several spinoffs. The film, which made $3.9 million through Sunday from 1,400 locations, was originally intended as a straight-to-HBO Max property but Warner Bros. pivoted to a theatrical release as a gesture to audiences and exhibitors hungry for new films. The R-rated, youth-oriented comedy did not score well with critics. Overall, the three-day box office total is going to net out around $100 million, which is not quite at pre-pandemic levels, but still up some 44% from the same weekend last year. "January is not going to be the slow month we thought. It’s a great combination of films out there that's not just dominated by ‘Avatar: The Way of Water,’" Dergarabedian said. “Theaters need movies and the studios are supplying those.” Read more: 2022 Highest Grossing Movies Worldwide Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore, with Wednesday through Sunday in parentheses. Final domestic figures will be released Monday. 1. “Avatar: The Way of Water,” $31.1 million. 2. “M3GAN,” $17.9 million. 3. “Puss in Boots: The Last Wish,” $13.4 million. 4. “A Man Called Otto,” $12.7 million. 5. “Plane,” $10 million. 6. “House Party,” $3.9 million. 7. “Black Panther: Wakanda Forever,” $2.2 million. 8. “The Whale,” $1.5 million. 9. “I Wanna Dance With Somebody,” $1.2 million. 10. “Waltair Veeraya,” 905,000.

The Blumhouse evil-doll horror film “M3gan” got off to a killer start, debuting with $30.2 million in ticket sales, according to studio estimates, while “Avatar: The Way of Water” continued its box-office reign in the top spot. Universal Pictures’ “M3gan,” about a robot companion built for a young girl after her parents are killed in a car accident, rode strong buzz and viral dancing memes to an above-expectations debut. In the low-budget slasher, starring Allison Williams, Blumhouse and producer James Wan crafted Hollywood’s first hit of the new year, likely spawning a new high-concept horror franchise. Audiences gave the PG-13 film a “B” CinemaScore — though reviews (94% fresh on Rotten Tomatoes) were stronger for the modern, techy twist on a “Child’s Play”-like thriller. It added $10 million internationally. But while “M3gan” drew audiences largely in 2D showings, large-format screens continued to be soaked up by James Cameron’s “Avatar: The Way of Water.” The 3-D three-hour sequel remained No. 1 for the fourth straight week in U.S. and Canadian theaters with $45 million in sales. Cameron’s sci-fi spectacle has now surpassed $500 million domestically and $1.7 billion globally. After dominating the otherwise lackluster holiday corridor, the “Avatar” sequel is nearly matching the original’s pace; the 2009 “Avatar” scored $50.3 million in its fourth weekend. “The Way of Water” already ranks as the seventh highest grossing film ever, not accounting for inflation — a total particularly owed to its strong overseas performance. The film’s $1.2 billion in international ticket sales exceeds that of any film released since the start of the pandemic. “M3gan” was the only new film in wide release, though Sony Pictures’ “A Man Called Otto,” starring Tom Hanks, played in 637 theaters after first launching in four theaters. The film, a remake of the Swedish film “A Man Called Ove,” managed a solid $4.2 million ahead of its nationwide release on Friday. Third place went to “Puss in Boots: The Last Wish,” with $13.1 million in its third week of release. The animated Universal Pictures sequel has tallied $87.7 million in three weeks, plus $109.7 million internationally. While many awards contenders have struggled in recent months at the box office, Darren Aronofsky’s “The Whale” is proving a modest exception. The A24 indie starring Brendan Fraser ranked seventh in its fifth week of release with $1.5 million and a cumulative total of $8.6 million — a good return for a film that cost an estimated $3 million to make. Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday. 1. “Avatar: The Way of Water,” $45 million. 2. “M3gan,” $30.2 million. 3. “Puss in Boots: The Last Wish,” $13.1 million. 4. “A Man Called Otto,” $4.2 million. 5. “Black Panther: Wakanda Forever,” $4 million. 6. “Whitney Houston: I Wanna Dance With Somebody,” $2.4 million. 7. “The Whale,” $1.5 million. 8. “Babylon,” $1.4 million. 9. “Violent Night,” $740,000. 10. “The Menu,” $713,000.